A pictorial history of the movies (1943)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

82 GRIFFITH TURNS A PAGE There was, of course, a sudden eruption of war pictures. Paramount released one, Vive la France, that was no better and no worse than any other propaganda picture. Here is Dorothy Dalton in a scene from the film, made by Thomas Ince. ABOVE RIGHT Griffith, on invitation of the British government, made a propaganda picture called Hearts of the World. It was filmed both in England and at the front in France. In the scene above, the girl is Dorothy Gish. The youth at the right is one Noel Coward. BELOW RIGHT BELOW LEFT The Squaw Man had always been high in Cecil B. DeMille's affections, since the original screen version had signalized his entry into pictures. Accordingly, in 1918, he filmed another edition of the old Western classic, with Katherine MacDonald (left), Elliott Dexter, and Anne Little. (Look back to page 27.) It wasn't a question of recruits— the draft had taken care of that— but of selling Liberty Bonds. And movie stars were great salesmen. Remember, this was before the days of the talkies; there were no public-address systems, no loudspeakers. When you addressed a crowd, you hollered through a megaphone. Mary did it (as shown here). So did Charlie Chaplin. So did Douglas Fairbanks. • T, r A % ' \-\ Vp " ,1 Ui£ tVJ( I